Music

Farewell to Fred Anderson

Earlier in June, saxophone legend Fred Anderson had suffered a heart attack and then fell into a coma in a Chicago hospital. He died soon afterwards, he was 81 years old.

The word "legend" gets overused all the time, especially by us music writers who happen to like jazz. It's about as difficult to define as, say, "classic". And although Anderson's name will probably not reach household status like Charlie Parker's anytime soon, it's safe to say that modern jazz would have been very different had he never been born. Fred Anderson spent most of his life and career being a big fish in a big pond, lending a hand to his contemporaries (Joseph Jarman, the AACM) while schooling the newbies (Ken Vandermark, Nicole Mitchell, George Lewis, Hamid Drake). With such a far-reaching influence, Anderson has supplied us with a lifetime's worth of hard-bop, avant-skronk, free-jazz disciples. His death may sadden us, but he already took measures to make sure we wouldn't be empty without him.

My first and so far only visit to the Velvet Lounge, Anderson's live music club in Chicago, was in early 2008. As I watched Dushun Mosley's band tear through their second set of the night, my brother nudged me and said "that's Fred Anderson taking door money over there." He had arrived sometime after I had that evening, and his unassuming entrance apparently had done nothing to distract me. His stooped-over figure and slow steps definitely broadcast the fact that he was elderly. But did he set a nursing home schedule for himself towards the end of his life? No way. His 80th birthday was an all-out bash.

The Velvet Lounge's website has numerous downloadable samples culled from a variety of albums Anderson had appeared on. Just bear in mind that each file is an edited snippet lasting a minute or two.

[Download samples]

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image